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The Good, The Bad & The Queen

4.1 out of 5 stars 67 customer reviews

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Product Details

  • Audio CD (January 23, 2007)
  • Number of Discs: 1
  • Label: Parlophone
  • ASIN: B000IAZ3E0
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (67 customer reviews)
  • Amazon Best Sellers Rank: #75,284 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
Anyone who has the balls to go back out on the frontlines after their primary claim to fame has bitten the dust deserves a little attention. Over the last few years, we gave the nod to Billy Corgan as he punished us through solo takes on his melancholy and Bee Gee covers, smirked at Chris Cornell as he fused Soundgarden vocals with Rage Against The Machine rhythms in the form of Audioslave, and put up a self conscious devil horn when STP and GNR combined into the glitz and glam of Velvet Revolver.

Then, you've got Damon Albarn. Forever known to a majority of the uneducated as the man who made "Woo Hoo" a staple phrase of alt-rock radio rotation with his band Blur, he moved into unsettled waters a few years later with the cartoon pseudonyms of the Gorillaz. And not only did we pay attention, but we ate it up. So now what? Well, you combine five heavy hitters in the music industry (representation from Blur, the Clash, Fela Kuti, the Verve, plus production from the 21st century's Butch Vig (Danger Mouse)) and write an apocalyptic album about one of the oldest cities in Western Europe.

But the beauty of this album, and the reason you should buy it, is that unlike many bands or albums that defy categorization, this particular group flexes very little of its past employment experience as it trudges through an atmospheric and foggy haze in search of how to best define London. Yes, Albarn's inarticulate warbling is there (think Thom Yorke without goosebumps), as is some dub reggae influence from the bass of Clash member Paul Simonon (who clearly wanted no upper range in his tone), polyrhythms from Tony Allen, and pristine guitar inflection from Simon Tong. But the overall effect is greater than the sum of its parts.
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Format: Audio CD
See. This is a prime example of how we hold artists back with "good ol' days syndrome". I can explain this record in one fell swoop: If this were a debut recording by a unknown band with unknown members, people and press would be gushing all over this.

I didn't care for Blur and Verve was ok in my book, but remained on the periphery due to its short lifespan, and Simonon hasn't done anything since The Clash. Since the preconceptions were subdued, I listened to the record the first time with an open mind. I wasn't waiting for that Blur blitz or that Verve hook or that Clash swagger. As a result, I have a record that is truly engaging and beautiful, especially if you've ever been to London.
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Format: Audio CD
Let's being by saying that this album DOES NOT sound like Blur, Gorillaz, The Clash or The Verve. If you are expecting at least one song to sound like any of the aforementioned, you will be greatly disappointed. That said it is also fair to mention that the talent from those three band members come together in an interesting fusion of skill and concept.

Damon Albarn has said The Good, the bad and the queen is not the name of the band but of the album, and his four piece orchestra is much more difficult to explain that what journalists or even reviewers would like to narrow them down to. And that could well be why this record results so rich in concept and so ethereal in execution.

The somber and at times extremely claustrophobic sound serves to transport the listener to different aspects of London. Just as the lyrics cannot be constricted to either pop or punk, there is a certain mood that prevails all along the album, and it maye be (dare to say) formulated as an electropop-rock-folk allusion to the background of each of the players.

"Kingdom of doom", "Northern Whale" and "80's life" are the standout tracks, but it is in "Herculean" that they summon up all that feeling of overwhelm and almost despair one gets to know while listening to this.

Closing track, which happens to have the same name as the album, is a prolonged exectuion that quite doesn't fit with the rest of tracks but treats us to the showcase of wild drums, exquisite guitars and the omnipresent, yet vague vocals that we have come to indulge in.

If you find this review confusing then you have a leading point to listen to this record. I did not approach it thinking it would remind me of Blur or Verve, but in a way it strives to get past that, and in my opinion it takes it to another level that even they might be wonder about. Call it an acquired taste, The Good, the bad and the queen is an album to savor more than once and discover along with your own secrets.
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Format: Audio CD Verified Purchase
First thing you notice is the dub bass of Paul Simonon then Albarns dark understated vocals- and throughout this excellent album the odd arrangements and sounds form a hybrid with electronic and disconnected classical strings hanging from very simple songs. Theres dub- a little britpop but mostly an odd kaleidoscope of sounds and a Kingston meets the eastend vibe. Organic folky roots music with a post 911 feel of gloom. This is Gorillaz without the trends or guest stars- this is a well assembled cast of excellent musicians creating a unique experience- timeless but modern.
This will take a few listens as the pace is slow to mid tempo and pretty dark- almost blurred at times. Albarn is an excellent songwriter and this may be his best work yet and former clash bassist Simonon is superb and looks great despite his broken nose in the cd photo. Tong (ex) of the Verve and Tony Allen both add exactly what is needed- nothing fancy but nothing common or predictable. Theres an abundance of piano but not in the coldplay vein- more traditional english music hall. To sum it up this resembles the perfect mix between later period Blur and the moody slower Gorillaz material put through producer Danger Mouse's sonic treatment. So far the best album of the last few months by quite a distance. The whole album is consistent in tone and style and is once again a very special project that transcends the history of its members.
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